Tan in his famous role as the "Bearded Man". Yang Shizhong

Tan Zhengyan's fate was determined before he was even born.

"I was born to learn Peking Opera," says the only offspring of the Tan school masters. "There was no other choice."

Peking Opera has been the family's only profession for seven generations, and during the past 200 years the family has provided some of the most important figures in the history of this Chinese cultural treasure: Tan Xinpei, the founder of the Tan school; Tan Fuying, one of the four great "Bearded Man" actors in the middle of the last century; Tan Yuanshou, a well-known actor who used to lead popular model operas during the "cultural revolution" (1966-76), and Tan Xiaozeng, today's established Tan school inheritor.

Now the torch is being passed to 29-year-old Tan Zhengyan. Blessed with a good voice and being the only son in his family, he grew up under great expectations to maintain the family's tradition.

"I like cross-talking, painting, playing guqin (a traditional musical instrument), football, tennis and ping-pong but not singing Peking Opera," he admits.

Peking Opera is experiencing a severe downturn, with smaller audiences and a shrinking market.

It has therefore become a less attractive career for young people in China, even for many children of Peking Opera masters.

Mei Wei, the great-grandson of Mei Lanfang, the founder of the Mei school, devotes most of his time to rock music instead, while Qiu Yun, the daughter of Qiu school founder Qiu Shengyun, has never received professional Peking Opera training because "it is too hard now to be a successful Peking Opera actor".

The youngest Tan is facing the same dilemma. "I live like a monk," he once complained to his parents. He is not allowed to smoke or drink alcohol and is even meant to avoid spicy food. All that, plus at least four hours a day learning and practicing the art.